Sentences with phrase «deadpan way»

Stubbs» earlier paintings look like cakes but also, in their deadpan way, seem to allude to the painterly abstraction of artists like Robert Ryman or Jasper Johns.

I love hearing the sarcasm in her voice, the deadpan way she delivers hilarious lines but yes, she does have a «distinctive» voice.

The character is weird, naturally, and the deadpan way that Jacobs plays it provides more humor than the character probably deserves.

On his third film, Waititi has refined his humour and storytelling to near - perfect level: his deadpan ways are beautifully connected to the most human moments of a genuine father - son narrative and emotions that flow gently but powerful underneath the funnies.

The actor could easily follow that muse into the late - night world that's been so kind to the aggressive antics of Tim & Eric and Eric André, deadpanning his way through hifalutin works of mindfuckery 15 minutes at a time.

Anthea Hamilton — Turner Prize - nominee Anthea Hamilton talks to Helen Sumpter about sampling, collaborating, choreographing and deadpanning her way through three quintessentially British shows.

Not exact matches

Deadpan comedian Nate Bargatze made another appearance on The Tonight Show this week, this time telling a story about a time he saw a dead horse on his way up to Mt. Rainier in Seattle.

Many of the xtranormal videos that have caught on with a big audience have followed a similar formula as this one: the jokes that work tend to be those whose humor relies on repetition and deadpan delivery, since characters say the same lines exactly the same way every time.

Deadpan, the film allows us to register the difference between T'Challa and Erik as an African and an African American — Erik being burdened by the traumas and injustices of American history in a way T'Challa is not.

Infinite Football has moments of nicely deadpan humor and some deft little touches of insight along the way courtesy of Porumboiu's offbeat protagonist; but major league it certainly is not.

In some ways, Lucy represents the point at which both roles converge, and Johansson has the unusually difficult job here of subtly conveying her character's observations, reactions and eventual epiphanies in a mostly deadpan, flattened - out register that becomes only more subdued as the film progresses.

It's often funny, too, in a deadpan, gallows - humour sort of way, and more than ever Payne allows the humour to rise up gently from his story rather than burst through it.

Trank's take on the material, in sharp contrast, is dead serious, albeit in a way that allows for a surprising amount of wry, deadpan humor so understated it can be easily overlooked or missed altogether.

The result is a much more suspenseful and emotionally engaging exercise that also benefits from well - timed shots of deadpan humor along the way.

His longing pre-fight ode to peanut butter - chocolate ice cream — «You can get it at Wal - Mart,» he deadpans — is, in its way, as revealing about the suffering athlete as anything in Black Swan, not to snark too much on Darren Aronofsky, whose recent films till similar ground.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Although Seven Psychopaths has been compared to Quentin Tarantino's work for its cartoonish trail of blood and deadpan violence, director - writer Martin McDonagh is smarter than Tarantino — not in any smarmy, obnoxious way, but a dramatic one.

Will Eno's dialogue isn't just off - kilter, it's way off center, and both Michael C. Hall and Tracy Letts handle the dazzling wordplay with great deadpan wit.

I suppose that to have done it in a very broad way wouldn't have been too terribly difficult, but I wanted to sustain a more nuanced and subtle deadpan tone throughout the film.

But there's also plenty that moves the spirit in that uniquely Andersonian way, from the endearing amateurishness of young newcomers Hayward and Gilman (their natural fumbling is perfect for a story about naive first love) to the stellar support lent by Murray, McDormand, Norton and Willis, who each convey a lifetime of concealed hurts with every gesture and deadpan - absurd line reading.

Not that you'd really want it any other way, as you know you're going to get more jokes per minute than nearly any other comedy out there, and one of the funnier deadpan comedic actors in Leslie Nielsen (Nuts, Soul Man).

Working as a veterinary nurse, she steals away with the titular doggie and, after a chance encounter with old school adversary Brandon (the punky brat in Welcome to the Dollhouse who threatens to rape her, now played by a witheringly deadpan Kieran Culkin) embarks on a road trip through middle America, visiting Brandon's Down's Syndrome - affected brother and his wife along the way.

In many ways, it recalls the Sparrow character he so brilliantly created for the «Pirates» franchise, from his headscarf to his deadpan reactions to his amusing brand of bumbling competence.

But such ways of control and discipline add to strange dream - like qualities Lanthimos and co-writer Efthymis Filippou infuse into the film: stunted walks, deadpan responses, long periods of silence and stilted surroundings all add to the notion that perhaps everything is but a dream.

He captures — in a deadpan, almost scientifically - objective way — the processes through which we assimilate and interpret machine - fed data, replicating in that sense the sort of Pop aesthetic of Warhol's ilk without the snarky sense of milk - fed superiority.

So it goes in The Young Karl Marx, an improbably lush and deadpan - funny epic about a pair of two - fisted materialists and the bodacious babes who loved them, as they brawled and rollicked their way toward writing The Communist Manifesto.

Although completely deadpan in its approach, nothing is played for seriousness, as even the costumes have been crafted in a comical way (like something out of «Sigmund & the Sea Monsters»).

The Cable actor, however, gets serious when he needs to with facial expressions which say all the right words but also deadpans his no - nonsense lines which often end up hilarious in all the right ways.

The graphics were cute, giving way to a few character tropes that are found in mystery games and books, such as the hardened, deadpan head detective and the brightly colored main character.

This deadpan, unneurotic attitude was there in his pictures, too, and it related to new strains in American literature at the time — above all, to the playful, plainspoken poetry of friends like Kenneth Koch, James Schuyler, Frank O'Hara, and John Ashbery; but also to the way postwar plenty meets personal appetite in the early stories of John Updike.

With Automobile Tire Print, Rauschenberg picked up a trace of the city streets in another way, creating an artwork that strikes an irreverent balance between abstract gesture and deadpan humor.

Offset books such as Twentysix Gasoline Stations (1963) and Every Building on the Sunset Strip (1966) revolutionized the artist's book and pointed the way to the deadpan serial imagery of the New Topographics photography of the following decade.

A deadpan flippancy insinuates its way into «Ink Art» — a sense of closed horizons and narrow purviews... local tweaks on international trends don't necessarily build upon the store of human experience.

Rosenquist's touch was deadpan, super-skilled, and sassy, simultaneously raising and lowering painterly skill levels in intriguing ways.

Earl A. Powell III, director of the National Gallery of Art notes, «With his unique combination of technical invention, deadpan humor, and cultural daring, Roy Lichtenstein moved the line between commercial and fine art and changed the way we look at our world.

This kind of deadpan approach allows the viewer to concentrate on the poise of the composition as well as the richness of detail in each image, but it is hardly gemütlich in the way one might assume from the subject matter.

Unlike much heavily worked abstraction, and in spite of their scale, their total effect is not heroic — Richter's almost - deadpan, process - oriented transparency cancels out such chest - beating — but the artist that responded to the direct energies of Pollock's work has clearly found a way, some decades later, to conjure both zest and detachment simultaneously.

Her recent photographs extend her deadpan configurations with such objects, but now with a heightened level of concentration, where objects are animate, flirting with one another in ingenious ways.

In this way, the objects still remain rather abstract and deadpan characters to us.